Author: Sonia de Puineuf
‘The image of the eye appears in a recurring fashion within the graphic production of modern artists. It is often treated as an autonomous motif, detached from the rest of the face, combined with inscriptions and typographic signs. These works are then to be considered as a composition of one’s view. From the poster for the Internationale Hygiene Exhibition in Dresden, designed by Munich native Franz von Stuck (1911), to the cover of the book Écriture et photographie in the advertisement phototypeset by Czechoslovakian Zdeněk Rossmann (1938), by way of Francis Picabia’s iconoclastic The Cacodylic Eye (1921) that is a painting with no paint, this rich corpus testifies to a notable evolution of sensitivity within the avant-garde and a questioning of the accuracy of the vision of the artist in the face of the technological developments of the modern world.’
From the graphic design archive:
From the graphic design archive:
From the graphic design archive:
I have known Rob for over a decade and I have been a huge admirer of his work. He specialises in reverse gilded glass sign making, typographic murals and traditional sign-writing.
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Advertising Design, Design Archive Feature, Members Only Content, Studios & Collectives
The advertising has a certain contrast of hand-drawn and mechanical. Produced entirely in black, it reminds us that the absence of colour can be highly effective. Hans Michel and Günther Kieser's illustrations bring a sense of both playfulness and a stylistic approach to a corporate client.
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Design Archive Feature, Members Only Content, Poster Design, Regional Histories
Gebrauchsgraphik 06, 1956 features a selection of the German Posters entered into the 1956 awards. It is unknown how many entries were submitted to the 1956 awards but a total of 21 posters were awarded.
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